There are many good comedies out there, but not many where the weight of tragedy crests and wanes beneath the laughter.
View More HOPE AND GRAVITY (1812 Productions): “Even the lightest things come crashing back down to earth.”
Category: Reviews
PASSAGE (Wilma): Love and death in Country X
The way to get an audience to ask itself profound questions about a work is not by asking the audience profound questions about the work.
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CARMEN (Opera Philadelphia): Color and excitement
nspired by by the resetting of their 2015 production of La Traviata, director Paul Curran and set/costume designer Gary McCann team up again to bring CARMEN to a nearer past, set in a beautiful Havana-esque 1950’s.
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OUR FEW AND EVIL DAYS (Inis Nua): Tantalizing ambiguity
This is difficult review to write since almost anything I’d say would be a spoiler. I can say this much: Go see it.
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SING THE BODY ELECTRIC (Theatre Exile): Electricity sparks and glows brightly, then sputters
Is there more still left in the playwright’s head that didn’t make it to the stage?
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The German Society of Pennsylvania presents their final Delius Society Concert
The Wister Quartet and Choral Arts Philadelphia gave their audience a rare chance to hear the Delius Songs of Sunset.
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ELLA: FIRST LADY OF SONG (Delaware Theatre Company): Channeling Ella Fitzgerald
Freda Payne does some lovely singing in ELLA: FIRST LADY OF SONG, a biographical tribute to Ella Fitzgerald
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BULLETS OVER BROADWAY (Resident Theatre Company): Good work from a fledgling theater
Neal Zoren reviews BULLETS OVER BROADWAY
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A Dilettante at Large goes to Penn Museum
Toby Zinman gives her thoughts on the new Middle East galleries at the University of Pennsylvania Museum of Archaeology and Anthropology
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THE WOMEN OF IRELAND (Irish Heritage Theater): Short Irish classics
From modern to historic, tragic to fantastic, THE WOMEN OF IRELAND views the feminine from many angles, creating a fleshed out sculpture of Irish life.
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GRACE & GRANDEUR (Pennsylvania Ballet): Ballet, in different eras
Pennsylvania Ballet’s fifth program of the current season is a historically intriguing.
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The Philadelphia Orchestra pulls in an audience with a surprisingly good Philadelphia Voices
Philadelphia Voices is about a lot more than cheesesteaks!
View More The Philadelphia Orchestra pulls in an audience with a surprisingly good Philadelphia Voices
HUMAN RITES (InterAct): I say tomato, you say genital mutilation
HUMAN RITES succeeds as a vehicle to tackle such hot-topic themes as appropriation and intersectionality.
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NOISES OFF (Walnut St): Hi-jinks prevail
The chestnut sails in Frank Anzalone’s production of NOISES OFF at the Walnut Street Theatre, but not consistently.
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JULIUS CAESAR (Quintessence): Why must republics fall?
Quintessence Theatre Group explores the Shakespearean death throes of the Roman Republic.
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I WILL NOT GO GENTLY (People’s Light): Third time’s a charm
I’ve gone from a fan and admirer to an enthusiastic supporter of Jen Childs in I WILL NOT GO GENTLY.
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SCHOOL OF ROCK (National tour at the Academy of Music): Amiable mediocrity
Most things are destined to be average, even musicals that have managed to stay on Broadway for a couple of years.
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FROZEN (Isis Productions): Forgiveness, redemption, and moving on
Neill Hartley’s ensemble for FROZEN makes the most of all the emotion and thoughtfulness Bryony Lavery invests in his play of forgiveness, redemption, and moving on.
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THE TEMPEST (Lantern): Sounds and sweet airs that give delight and hurt not
Lantern Theater’s production of THE TEMPEST, Shakespeare’s last play, is an enjoyable, modest show, full of comedy and romance and the gentle spirit of human forgiveness.
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Lahav Shani leads Philadelphia Orchestra with music by Lindberg, Stravinsky, and Prokofiev
Twenty-nine-year-old maestro Lahav Shani leads the Philadelphia Orchestra with a spotlight on trumpeter David Bilger
View More Lahav Shani leads Philadelphia Orchestra with music by Lindberg, Stravinsky, and Prokofiev